Barihunk Zachary Gordin flexes his opera muscles

With the popularity of shirtless gay pop stars and out country singers in tight jeans, there’s another musical genre just waiting in the wings to flex its muscle. Meet Zachary Gordin – consummate opera star, commanding baritone, gym selfie expert, and the new General and Artistic Director of the freshly revitalized Festival Opera, currently celebrating its 30^th Anniversary.

This “barihunk” is a Bay Area native, growing up in a uniquely artistic atmosphere.

The Bay is so culturally rich and diverse, and there’s a long tradition of welcoming and nurturing creativity of all kinds. Social justice movements have strong roots here, and considering the population size, it’s incredible that the Bay supports such a huge artistic eco-system. People who live here value the offerings and make the time to show up and participate. It’s special to be part of this place.  

Music is in his family’s blood. Early on, Zachary was inspired by his great-grandfather’s skill as an organist and began instruction on the keyboards. Not only would his family mentor bestow the gift of music but would also give Zachary a life lesson that would carry him through all aspects of his life.

The lesson that stuck with me is that I belong. I have memories of being a tiny child and wanting to sit at the keyboard and figure out how to make music. He picked me up, sat me down, and made space for me to belong.  

Gordin continues to play the keyboard, at concert level and doesn’t mind filling in during opera rehearsals or striking up the harpsichord for baroque ensembles. His musicality incorporated his vocal abilities after one of his instructors heard him singing before a lesson and told him that pursuing his voice was a must.

His early instruction in music was a direct product of public-school music programs, something uncommon in recent times as funding to the arts has been continually cut. In addition to sustaining a thriving opera community, he is committed to promoting community programming and building educational access. He believes that classical music is for everyone, not the elite.

It’s a sad reality we’re facing. Arts education and access are so vital for teaching empathy, connection, and expression. The way music education positively impacts brain development is well documented. Technology and sports are also important, but not everyone is built to excel in those arenas. Art is something everyone can benefit from – either by creating or observing – building community and understanding through shared experiences. 

Opera post-COVID is back with a vengeance. This summer, Zachary’s Festival Opera produced the world premiere of A Jake Heggie Triptych, with librettos by Terrance McNally and Gene Scheer. The industry shows no danger in aging out.

I see first-time operagoers at every production I perform in or produce. It’s so exciting to bring new people to the art. Classical music has created its own bad publicity by complaining about the lack of younger audiences, I just don’t see it in real life. There will probably always be a trend for audiences being of a certain age; some of that is about free time and resources, and some of that is about interest in the art form. I’ll routinely see teens, 20 and 30-somethings in the theatre getting their whole life at an opera or symphony performance. This gives me hope! 

Zachary’s coming-out story is opera worthy, complete with tears, drama, and a grand finale. Through his difficult coming out, music was always his constant.

I was a Mormon boy who married his best friend and manager when I was 19, which probably was a huge relief to the people around us, hoping and praying I wasn’t gay.  We lived as a couple for two years, but eventually, my truth came out. I realized that I couldn’t continue living for other people and that I had to embrace my own identity. I lost everyone at that point and had to rebuild my community completely. My family of choice is everything to me.  

Does homophobia exist in the opera world? 

Absolutely, though it’s not always overt. It’s funny that so many people in opera are LGBTQ+ but still, there’s a slant toward maintaining “conservative” optics. I don’t understand it and thankfully I live in a place (the SF Bay Area) where I don’t really have to face it, but when I’m on the road it certainly becomes clearer.  

Zachary’s Instagram is part opera celebration and part thirst trap. He has earned the title “Barihunk”, and his gym selfies and grey sweatpants pics get as much adoration as a standing ovation. Has he received any flack from the opera world for his not-so-subtle social media sexuality?

Sure, there’s flack, but mostly from other singers who are mad that I can do both. I grew up being told I should be ashamed of who I am, and I’m done with that. If you have a problem with how I present, you should probably be busier. 

Muscles are not all that make up Zachary’s moniker of “Barihunk,” it’s about strength in many different forms.

My hope is to be strong for my community, to make and support opportunities for artists to grow, and to lead by example. I think that outside appearance doesn’t matter much if what’s on the inside isn’t helping make the world a little better. Hunk = helpful.

As much as you don’t hear about many opera stars who are gay, you don’t hear of many gay men who are opera singers. With rehearsal time, performances, and the physical rest that an opera voice needs, does he ever feel like an outsider to the gay circle?

Yes, but I’ve never thought about it in those terms. I know I’m not in retail, or a techie, or a social media influencer. I build meaningful art with wonderful people and I’m ok with being different. What matters is the people whose hearts I can touch through my work and the art. That’s what makes me tick.  

The demands of the opera and social media world can be intense. How does Zachary maintain a balance between public and personal life?

Boundaries. I don’t love social media, and I’m not on a bender for fame, but I’ll use it to communicate with my friends and fans when there’s something that needs to be said or I take that semi-annual gym selfie with perfect lighting. LOL. I’m open and ok with being vulnerable, but everyone doesn’t deserve access to that. My partner and close circle get my undivided attention in everyday life, just like my audience gets my full focus when I’m on stage. Spending an evening cooking for my people and telling stories is much more interesting than how many likes I might get on an Instagram post. 

Part of that personal life is his relationship. Is it hard to manage a healthy household while working so hard?

My partner, Ryan, and I are very lucky to have found each other. Our personalities and goals complement each other – and we know how to communicate about priorities, balance, and boundaries. I’ve been in much-less supportive relationships – toxic even… Those were difficult to navigate, and there was little room left for me or my career. Looking back, I am overwhelmed with gratitude for the love we found. So happy to have lived and learned!  

Coming to Festival Opera during its 30^th Anniversary is a great honor, but not without some hard work ahead. He has big plans in his new role.

Building and rebuilding the community has been a challenge during COVID separation, that’s for sure. Other challenges have been rethinking what opera can be, who it’s for, and why we’re doing it in the first place. The answers to these questions really drive me, my Board of Directors, and collaborators. Opera can be a very powerful tool for bringing people together. The music, the voices, visuals, and stories all work together to make a totally visceral experience.  

Festival Opera has been rooted in presenting classic operas alongside new or under-performed works. I’m pushing the envelope by creating new operatic experiences from music that wasn’t originally intended for the theatre, highlighting social justice themes in both classic and modern operas, bringing more racial and gender diversity to casting, incorporating technology into scenic design, creating mentorship programs for all aspects of opera production, and the list goes on… 

Being a powerhouse behind the scenes has given Zachary a unique perspective of the opera world from the business side.

Singers generally go through their careers with a singular focus – their craft and sharing it. As an impresario and builder, I’ve had to look at the intricate puzzle that makes up each production: artists, orchestra, unions, funding, community engagement, and so on… It’s a lot! Thankfully I came in with experience in building companies, organizational consulting, and advocacy work for artists. Knowing how to lead and engage your team is essential.  

How has opera changed Zachary, as a person, the most?

Honestly, it’s increased my empathy and sensitivity toward others, and my desire to build something for my community. Simply singing has never been enough. Glad I can give back in this way.  

He has appeared as Germont in La Traviata, Escamillo in Carmen, and Enrico in Lucia di Lammermoor, Silvio in Pagliacci, the convict Joseph De Rocher in Dead Man Walking, and many others. On the concert stage, has interpreted the masterworks of Brahms, Faure, Handel, and Mozart, the orchestral song cycles of Mahler, and most frequently for Orff’s Carmina Burana to critical and audience praise. With all these masterful performances, there must be at least one stage fail.

I was performing the Toreador in Carmen in SF while also rehearsing for a production of Lucia di Lammermoor in LA back in 2005, I think. Carmen is in French, and Lucia is in Italian and going back and forth on a plane wasn’t helping my brain stay organized. I remember being rushed to make my entrance in Carmen to start the song that everybody knows, just to go completely blank two phases in. I looked to the conductor for help – a word, a line, anything – and he just shrugged like he didn’t know what to do. That scene in the opera is set in a tavern, and there was actual wine on the stage, which I immediately began consuming and flirting with the tavern patrons until the chorus section came along. Everything was fine for the rest of the run, and I never forgot my lines again!  

Zachary’s message to the LGBTQ community is lyrical and beautiful:

Love and support each other, regardless of race, gender expression, body type, ability, etc… There’s so much destruction and negativity in the world coming at us, even from within. We are truly stronger, completely beautiful, and so much better when we recognize this and lift each other up. 

Check out Festival Opera at FestivalOpera.org

And follow Zachary on IG: @ZGordin